Using Drawings in Play Therapy:
A Jungian Approach
Jennifer Birch, M.A.
The University of Alabama
Karla D. Carmichael, Ph.D.
The University of Alabama
Abstract
Counselors working with children
employ a variety of therapeutic techniques
and tools from various theoretical models.
One of these tools, drawing, is increas-
ingly being implemented into play ther-
apy. The purpose of this paper is to
briefly review Jungian theoretical ap-
proaches as they pertain to drawing tech-
niques within the counseling session.
Using Drawings in Play Therapy
Play is how children explore the ex-
ternal world and discover their own
skills and abilities. Play allows children to
communicate complex ideas and mes-
sages that would otherwise be impossible
due to their lack of verbal skills (Associ-
ation for Play Therapy, 2000). Addition-
ally, play enables children to make sense
of their internal and external worlds and
seek ways to connect the two world views
(Reyes & Asbrand, 2005).
Counselors working with children use
a multitude of play techniques in order to
assess and meet specific counseling goals
with their clients. Counseling techniques
are derived from theoretical approaches
and certain beliefs regarding human inter-
action and change. Axline (1989), an
early founder of child-centered play ther-
apy, stated counselors must accept the
child and allow the child to lead the ses-
sion, provide an atmosphere where the
The Alabama Counseling Association Journal, Volume 34, Number 2, Spring 2009
child feels free to express feelings, reflect
feelings back to the child and respect the
child’s ability to solve his or her own
problems.
According to Gil (1991), a play and
art therapist, “efforts must be made to in-
vite and promote self-expression” when
working with children (p.66). Drawing
can be one such outlet that encourages
self-direction and self-evaluation (Lan-
dreth, 1991). In the 1800s, drawings be-
came significant to psychoanalysis in
order to reveal the unconscious mind (Gil,
1994). In 1905, Freud reported on draw-
ings of Little Hans as a means to “surface
unconscious material through im-
ages”(Malchiodi, 2003, p. 42). Naum-
burg (1966) became popular for using
spontaneous drawings within psycho-
analysis. Since that time, the use of cre-
ative techniques has seen an increase in
the use of art, visualization, and
metaphorical imagery in children’s coun-
seling (Allan, 1988). As art within child
therapy strengthened, the use of drawings
became popular to study the intelligence
level and psychological state of the child.
Projective drawing tests emerged to study
the perceptions, attitudes, and personality
of children (Malchiodi, 2003).
Today, art has become a recognized
modality in play therapy and is integrated
into the play session. Art therapy uses the
3 Using Drawings
creative process of art to improve and en-
hance the physical, mental, and emotional
well-being of children. “The creative
process involved in artistic self-expres-
sion helps people to resolve conflicts and
problems, develop interpersonal skills,
manage behavior, reduce stress, increase
self-esteem and self-awareness, and
achieve insight” (American Art Therapy
Association, 2006).
Drawings
Therapists use drawings as a means of
communication when working with chil-
dren. Drawings broaden the individual’s
experience of expression by allowing the
safe expression of feelings and attitudes
in ways that words cannot (Hagood, 2000;
Landreth, 1991; Oster & Gould, 1987). A
white sheet of paper becomes a “safe
place” for the child to express himself or
herself in a non-threatening manner,
(Allan, 1988). Drawing can “create inter-
nal perceptions about self and the
world”(Malchiodi, 2003, p. 155). These
graphic representations “bring issues to
the surface, thus accelerating the helping
professional’s ability to intervene and as-
sist troubled children” (Malchiodi, 2001,
p. 21).
“Although child-centered play ther-
apy is the most widely employed play
therapy technique,” rooting itself in the
humanistic approach, many play thera-
pists prefer techniques derived from
Jung’s Analytical Psychology (Peery,
2002, p. 408). The specific counseling
styles of play therapy influence the coun-
selor’s approach to drawing assessments.
While child-centered play therapy is char-
acterized as being nondirective, Jungian
therapists offer varying degrees of direc-
tion in the counseling session. This de-
The Alabama Counseling Association Journal, Volume 34, Number 2, Spring 2009
bate concerning the degree of direction a
play therapist employs is also applicable
to art therapy and drawings. While some
counselors choose a directive role when
utilizing drawing techniques, others pre-
fer to be non directive in their method.
Professionals find both directive and
nondirective methods reach into the indi-
vidual‘s unconscious. Therefore, chil-
dren’s art expressions within therapy are
viewed from diverse perspectives and in-
terests depending on the therapist. Draw-
ings are used not only as an assessment or
diagnostic tool, but counselors use draw-
ings as a therapeutic intervention in coun-
seling (Malchiodi, 2003).
Jungian Drawing
Jung (1934) contended the goal of
counseling is “to make unconscious con-
tent accessible and so to bring it closer to
the patient’s understanding” (p.182). Ac-
cording to Jung, in order for clients to
achieve meaning and wholeness, there
must be a balance between the uncon-
scious and conscious. Rather than
specific techniques, the counselor’s
understanding of the “nature of the
psyche, the meaning of play, and the goal
of the therapy influence on the play
therapy process” is important in this
theory (de Domenico, 1994, p. 453).
Jungian therapists encourage the individ-
ual to embrace uniqueness within his or
herself.
Play is a primary means to self-
realization (Jung, 1961). Lack of psycho-
logical coping skills, family psy-
chopathology, trauma, and ways of
education, raising, and socializing chil-
dren promote ego disturbances. The
counseling role is to observe, attempt to
understand, integrate, and communicate

the meaning of play. The child works
through internal and unconscious conflicts
as the therapist provides freedom in the
playroom, verbally affirms the child, pro-
vides a deep level of empathic under-
standing, and offers warmth and caring
(Hagood, 2000). The counselor’s goal for
the client is to value themselves and gain
a sense of empowerment. These charac-
teristics provide a catalyst for therapeutic
change.
Similar to Freud’s psychoanalytic ap-
proach of free association, spontaneous
art expression gains access to the inner
realm in order to promote healing. “Pic-
tures are direct communication from the
unconscious”(Furth, 2002, p. 4). Jung
studied archetypes within art and discov-
ered that the symbols produced in draw-
ings represent the psyche’s attempt to
grow and heal (Allan, 1988). When un-
conscious content appears in drawings
and is deciphered, the unconscious con-
tent provides valuable therapeutic insight
into the child’s world (Furth, 2002).
Spontaneous drawing, a Jungian semi-
directive structured technique, provides
clients with the opportunity to express
their thoughts and feelings in on-threaten-
ing and safe ways (Allan, 1988). The
client chooses the content of the drawing,
exhibiting self-control and mastery (Allan
& Bertoia, 1992). A spontaneous drawing
externalizes the emotions that talking may
not accomplish (Green, 2004). Impromptu
drawings are created by asking the client
to draw whatever he/she would like to
draw. Many view this spontaneity as cen-
tral to the art therapy process (Furth,
2002; Malchiodi, 1998, 2001, 2003).
The Alabama Counseling Association Journal, Volume 34, Number 2, Spring 2009
Using Drawings 4
Serial Drawings
Serial drawing is implemented over a
period of time in order to provide “a more
complete view of the child’s inner world”
(Green & Herbert, 2006, p. 22). These
drawings include little or no direction
from the counselor. The client may draw
anything each week. “When a child draws
in the presence of the therapist on a regu-
lar basis, then the healing potential is ac-
tivated, conflicts expressed and resolved,
and the therapist can gain a clearer and
more accurate view of the unconscious at
work” (Allan, 1988, p. 21).
Common questions from the coun-
selor could include several questions. I
wonder what it would feel like for you to
be in this drawing? Tell me a story that
goes with the picture? Give me a moral to
go with this picture and/or story? Give me
three feeling words for this picture. Tell
what happened before this picture(s). Tell
what is going to happen after this picture
or this last picture.
Through the stages of therapy, serials
drawings move from reflecting the child’s
inner world, to struggling emotions, to fi-
nally a sense of mastery and worth. This
drawing intervention or assessment may
be presented in a directive, semi-directive,
or non directive manner, depending on the
needs of the child.
The Rosebush Drawing
The Rosebush (Allan, 1988), guided
imagery activity, asks the child to picture
a rose bush in their mind. Once the child
says that they have a clear picture of the
rose bush in their mind, then the counselor
asks them to draw the rose bush as best
they can as they remember seeing it in
their mind. The counselor looks for
5 Using Drawings
specific details in the drawing. A child
that needs defenses may draw a fence sur-
rounding the rosebush. A child that needs
more security and stability in their life
may emphasize the roots and root struc-
ture of the bush. A child who can both
draw the thorns and the full blooming
roses may have a better concept of reality
and have a more mature understanding of
taking the good in life with the less desir-
able. The fullness of the blossoms and
leaves on the bush indicate the fullness of
the child’s life, as the child perceives it.
A child who draws a rose bush with only
rose buds may be on the verge of great
changes in their lives from the child’s per-
spective. Of course, dead rosebushes, bro-
ken limbs, or other indications of a lack
of vitality in the rosebush are indications
of the child’s emotional state of depres-
sion, hopeless or despair. However, before
making any lasting interpretation, ask the
child what season of the year it is, as a
rosebush in winter has no leaves or blos-
soms. A child who is very literal or con-
crete can just be drawing what they have
seen at home in their own flower gardens
(Allan, 1988).
Other parts of the post-drawing inter-
view include asking the child what the
weather is like for the rosebush, which
may give the counselor an indication of
how the child perceives the environment
as warm, cool, or cold. The following au-
thor fictionalized case excerpt will give an
example of a rosebush post-drawing in-
terview by a child from an emotionally
impoverished family situation:
Jamie drew a bare rosebush devoid of
greenery or blossoms. A huge tornado
was drawn in the background approach-
ing the much smaller rosebush. The rose-
The Alabama Counseling Association Journal, Volume 34, Number 2, Spring 2009
bush had no protection of any kind from
the coming storm. When asked about the
rosebush, Jamie replied. “The tornado
will blow it away. It doesn’t have any
roots to hold it. It is too young. It was just
planted last year.”
Jamie had moved to a new school after
the death of her father. The mother had
to live with the grandparents. The grand-
parents had very different ideas about
parenting from Jamie’s parents. Both the
mother and Jamie discussed how the fam-
ily had been thrown into chaos by the un-
expected death of the father and the many
changes that were taking place in their
family. Jamie had been referred to the
counselor because of what the mother
considered to be unresolved grief and
childhood depression.
As the counselor looks at the drawing
and listens to the tone of Jamie’s voice,
she can hear the despair and grief the
child is experiencing. As the rosebush is
a metaphor for Jamie’s current situation,
the counselor talks to Jamie through this
metaphor by asking these guiding ques-
tions: What does the Rosebush need to be
protected from the tornado? Who can
take care of the Rosebush and be sure that
it survives the storm? What will it take for
the Rosebush to bloom in the Spring?
How do you think it will look next year or
even five years from now?
Jungians often speak to the uncon-
scious through the metaphor of the draw-
ings, directing the thought processes by
guiding questions. Unlike a more direc-
tive approach, the Jungian therapist trusts
the unconscious to make meaning of the
metaphor and does not explain it to the
child. To illustrate talking through the

metaphor, the counselor might respond to
Jamie by saying the rosebush looks like it
is stronger than it looks and if the rose-
bush moves with the wind rather than tries
to resist the wind it will stay rooted. If the
rosebush does become uprooted, the gar-
dener will come by to check on all the
bushes after the storm and will help the
rosebush to be replanted.
Journal Drawing
Another approach used by Allan and
Bertoia (1992) is journal drawing or the
creation of picture journals. The child
draws a picture or a series of pictures
much like other journal entries are made.
The child may choose to add written com-
ments to the pictures he or she has drawn.
The counselor does not ask the child to
draw anything in particular. The child just
draws what they feel like drawing for each
entry. Usually the child brings the draw-
ings into the counselor to review. The
counselor guides the child through ques-
tions to reflect about feelings, meanings,
or experiences that are reflected in the pic-
tures. These questions may take the fol-
lowing format: Tell me what you were
feeling when you drew this picture? What
had happened just before this picture?
What is going to happen next? Tell me
what you like about this picture? Tell me
how you would change this picture? Give
me a moral or special title for this picture?
Several of the pictures may be
grouped together and the counselor may
ask the child to tell a story with a begin-
ning, middle and end for the story. If the
pictures are very abstract, the counselor
may ask the child to tell label each color
with a feeling word. Sometimes the coun-
selor may want to just share an impression
that he or she gets from the picture and see
The Alabama Counseling Association Journal, Volume 34, Number 2, Spring 2009
Using Drawings 6
if that impression is the one that the child
intended to convey. According to Allen
and Bertoia (1992) the time spent reflect-
ing in a picture journal can “set in motion
the inner drive of growth and develop-
ment” (p. 30).
Conclusion
Drawings can provide a vehicle for
children to explore their external world
and to discover their coping skills and
abilities. Through the use of drawings,
children can communicate complex ideas
and messages that would otherwise be
impossible due to lack of vocabulary.
Through the concrete production of cre-
ative expressions, children can share their
internal world of experience with the
counselor in the external world of the
counseling session. Presented in this arti-
cle are some launching points or drawing
experiences for the counselor interested in
pursuing Jungian art expression as a tool
in counseling sessions with children.
Author Notes:
Correspondence regarding this article
should be addressed to:
Karla D. Carmichael, Ph.D.
Counselor Education
Box 870231
Tuscaloosa, Alabama 35487-0231
dr.k@consultant.com
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